Infinitely Losing My Edge
Yeah, I'm losing my edge.
I'm losing my edge.
The kids are coming up from behind.
I'm losing my edge.
I'm losing my edge to the kids from Cameroon and from Manila.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
I'm losing my edge.
I'm losing my edge to the kids whose footsteps I hear when they get on the decks.
I'm losing my edge to the internet seekers who can tell me every member of every good group from 1965 to 1970.
I'm losing my edge.
To all the kids in Toronto and Madrid.
I'm losing my edge to the art-school Glasgow kids in little jackets and borrowed nostalgia for the unremembered nineties.
I'm losing my edge.
I'm losing my edge.
I can hear the footsteps every night on the decks.
But I was there.
I was there in 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the rhodes sounds with much patience.
I was there when Tom Verlaine started up his first band.
I told him, "Don't do it that way. You'll never make a dime."
I was there.
I was the first guy playing Franke to the rap kids.
I played it at Cafe Wha.
Everybody thought I was crazy.
We all know.
I was there.
I was there.
I've never been wrong.
But I'm losing my edge to better-looking people with better ideas and more talent.
And they're actually really, really nice.
I'm losing my edge.
I heard you have a compilation of every good song ever done by anybody.
Every great song by The Cramps. All the underground hits.
All Lalann tracks. I heard you have a vinyl of every Sam Rivers record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a chamberlin and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a A Certain Ratio record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Hot Snakes,
The Grass Roots,
Carl Craig,
Susan Cadogan,
Essential Logic,
The Evens,
Byron Stingily,
Dennis Brown,
Masters at Work,
Kas Product,
Junior Murvin,
The Walker Brothers,
Eli Mardock,
Blancmange,
Harmonia,
Eric Copeland,
Stiv Bators,
Leonard Cohen,
Juan Atkins,
Minnie Riperton,
Lyres,
Johnny Clarke,
OOIOO,
Amon Düül II,
Rowland S Howard / Lydia Lunch,
Fatback Band,
Albert Ayler,
Lightning Bolt,
Cal Tjader,
Thinking Fellers Union Local 282,
Aswad,
Fifty Foot Hose,
Pete Rock & C.L. Smooth,
EPMD,
Ossler,
The Detroit Cobras,
Altered Images,
Heavy D & The Boyz,
The Saints,
Isaac Hayes,
Scott Walker,
Toni Rubio,
E-Dancer,
The Flesh Eaters,
The Pretty Things,
Duran Duran,
Röyhkä ja Rättö ja Lehtisalo,
Bobby Sherman,
Wolf Eyes,
Pantaleimon,
The Gun Club,
The Slits,
Moebius,
Stereo Dub,
Notorious Big And Bone Thugs,
The Cowsills,
Joe Smooth,
Beasts of Bourbon,
Bauhaus,
Terry Callier,
Pole, Pole, Pole, Pole.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.